I find it really hard to even read another script while shooting.
Writing is so. . . I don't know, it's such a practice, and I feel very unpracticed in it, because I'm not doing it every day. And I really need to do it every day. In other words, you spend all this time writing a movie, and then you stop, and then you're shooting the movie, and then you're cutting, and a year and a half goes by, because in the editing room, you're not writing.
For me, shooting, editing, and scoring rely on rhythm.
Currently I am working on another three books, doing a lot of magazine work, am shooting for fifteen stock agencies, plus my own photo library - all this keeps me quite busy!
I actually don't have a problem with shooting and then just walking away and forgetting about it. I'm not really like a Method actor or an old soul. It doesn't stay with me.
Once I start shooting I forget the scriptwriter in me. I like things flowing. If you have talented actors who bring their own ideas, it can be much better than what you have worked out.
It fascinates me that there is a variety of feeling about what I do. I'm not a premeditative photographer. I see a picture and I make it. If I had a chance, I'd be out shooting all the time. You don't have to go looking for pictures. The material is generous. You go out and the pictures are staring at you.
Nothing wrong with shooting. . . as long as the right people get shot.
I am the neurological opposite of a psychopath, in that I feel anxious almost all the time. It must be great to not constantly feel like you’ve got someone living inside your face, shooting you with a mini Taser.
Since the day I finished shooting there's been at least one person come up to me every single day and then after the trailer came out, at least four. It's absolutely bizarre to me. This was before there was any systematic promotion of the movie. It's just completely nuts.
I literally designed and built the sets myself, and I kind of liked it. I always gave myself eight weeks to do that - sometimes even 10 - and the shooting took five or six weeks.
The USGA doesn't want to recognize the fact that today's players are better than ever. They seem willing to do anything to prevent us from shooting scores that would make us appear better than the great names of the past.
What I can't understand is why you invoke improbability and yet you will not admit that you're shooting yourself in the foot by postulating something just as improbable, magicking into existence the word God.
Shooting an improv-based film is incredibly liberating, exhilarating, and fun, but editing that kind of movie can be difficult for obvious continuity reasons.
Shooting a movie can be so tedious. You're trying to get 20 different angles on the same swing. You never get into a rhythm. But I took it very seriously.
It seemed like this day could go in so many directions, like a spiderweb shooting out toward endless possibilities.
You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
Ten episodes goes by really quickly, especially when you've got a really tough shooting schedule of seven-day episodes.
I like pacifists and people who have a heavy emotional identification with deathism and war would probably call me a pacifist, but I am a non-invasivist rather than a non-violentist. That is, I believe that an invaded people have the right to defend themselves by any means necessary. This includes putting ground glass or poison in the invaders' food, shooting at them from ambush, sabotage, the general strike, armed revolution, etc. It's up to the invaded to decide which of these techniques they will use. It's not up to some moralist to tell them which techniques are permissible.
I'd been working on more traditional movie sets and TV shows at Universal. All of a sudden, here we're on location in Animal House, and it's down and dirty and quick. It was the way the new commercial world was shooting; the way the indie world was shooting. These were lighter, faster cameras. It was a generational change.